On Perspective

We learned to recognize photography as images that somewhat resembles what we see with our eyes. 'Pictures don't lie', they say.  True, that it captures light bouncing off from the subject and replicates it onto a sensor/film using complex optical science... so there is no lie going on, just physics. If that is the case where is the 'art' in photography? Where is the part that makes the picture "unique"? Isn't one of the criteria of "art", is that it is unique? Something that belongs to a psyche of just one person?

This is a curtain hanging from its rod in front of a closed shade.  Why does it look like a thick muddy dreadlock of a space creature? Or high resolution scan of a strange hair strand? Its because I omitted to show the elements that are distinguishable. And the viewer's brain starts to interpret the images using their own knowledge base.  So when the images seems to get more father away from reality,  we rely on our own perception to make sense of the art.  And I think that's why art makes us think about ourselves.

This is a string thing that you pull to raise and lower the shades, but its rotated sideways.
I believe the art is created not when you take the picture, but when you look at it. It is the interpretation of the lines and shapes the 'art factor' comes in to life.

Light beam coming from the front door with partial reflection on the wall. To me this is not a series of abstracts. These are realistic capture of light rays interacting with paint, walls, fabric...

Light coming in from a side of a window and rotated.  We see this day in and day out. Its about what choice do we have when looking at things. Same window sill but if you choose to, you can see this.

Beaded bamboo thing for decoration, in front of a beam between two windows.  Yes, its out of focus. Your eyes gets out of focus too sometimes.

A Smile is Just a Smile

Canon 5d mk2  24mm 3.5L II

There aren't many shots that I would say that I am really proud of, but this shot I am.  First of all, these three ladies are very nice people, so any comments that will be made below only reflects the view of the social consciousness of the general public as I would see it. Basically its "art"... to make it easier to explain.

The backdrop is pure excess, gorgeous things that normal people will never lay their hands on.  The women in their designer dresses, slender legs and brand name dogs. The American Dream.

But look at that expression! She is 13 all over again. There isn't an ounce of pretensiousness on showing how happy she is when her dog licks her.  The happiness crosses all social/cultural boundaries.  Its never misunderstood.

The general public are jealous of them, be envious of them or even hate them, but that smile transcends that hate and dissipates it.  It makes me think and ask myself, why we believe in the things that we believe. And how wrong it can be.

Into the Darkness to the World of... Chemistry

These are night series that I've done with medium format film.  Night shooting on BW film can be very technical in terms of film development.  I choose to shoot film at night because it does a better job of keeping the highlights and shadows.

For you older film shooters out there, you might know what I'm talking about when I say, "expose for the shadows and develop for the highlights".  Does anybody remember that mantra?... Anybody?

Hasselblad 500cm 80 2.8 CF TMX 100. Pull process.

The detail in the moon lit sky still has texture. 

What that means in this case is, when you shoot, overexpose the film so you can get some density on the shadowy areas, and when you develop the film, do it in a way to keep the highlight from being too bright.

Hasselblad 500cm 80 2.8 CF TMX 100. Pull process.

I was surprised to see the trees to the mid right. Pull processing allows that. 

When it comes to exposing, how do you meter at night?  You have to use the most un/reliable light meter you have... your memory!  Regular light meter will not read with one street light.  Using your digital camera to meter? What make sense in your 5D probably won't make sense in the darkroom.  30 sec of exposure in your DSLR does not work with the same iso film because I'm pull processing. Besides, it only goes to 30 seconds. I usually work around 2-8 minutes. Depending on the intensity of the light source.

Hasselblad 500cm 80 2.8 CF TMX 100. Pull process.

Pull Processing is a technique where you under develop the film intentionally.  That means your film is sloshing around the developer chemistry shorter than normal.   This technique is very useful for high contrast images.  It allows more gradations to be captured on film. On my night shots, I often include the light source in the composition.  So the contrast is very high. Pull processing reduces the contrast so both highlight and shadow details are captured.

Now if you develop normally (according to instructions) the highlight will be "blocked" on the negetive (darkroom term).  Remember the bright areas of the composition are the areas that has "stuff" or silver on it, making it look dark when you look at the negative film in plain light.  When there is too much density on the highlights, no light can go through it, which means when you go to scan, the highlights will be "blown" (digital term).

So when you under develop, or pull process, you're limiting the time it takes for the highlight to clump up. So instead 5 1/2 minutes of development, you'll do 5 or 4 3/4.  You have to come up with your own number.  Temperature, type of developer, method of developing is all different, so actual time will vary.  Wasting your time on countless tests is one of the fundamentals in photography. Better get used to it.

Hasselblad 500cm 50 4.0 CF TMX 100. Pull process.

The detail of the white wall would've been blown and the details near the tree is possible because of pull processing. See the stars streaking in the sky? That's about 8 minutes of the earth's rotation.

Hasselblad 500cm 50 4.0 CF TMX 100. Pull process.

You can actually see what's on the shelf! The contrast between a lit room and unlit outside wall to the right is beyond the ability of most digital cameras.

Hasselblad 500cm 80 2.8 CF TMX 100. Pull process.

Foggy night. If you see real close, you can see the lightbulb fixture.  That's highlight retention for you.

Hasselblad 500cm 50mm 4.0 CF TMX 100. Pull process.

You have to have shadows if you have light. 

Hasselblad 500cm 80 2.8 CF TMX 100. Pull process.

Lights from passing cars made the streaks that complements the vertical beams to the right.

I try not to spend more than 4 minutes per exposure because it gets pretty tedious just waiting around for 16 minutes to happen.  Remember you go by stops... 1min 2,4,8,16... My F stop is around 5.6 to 8. Kodak TMX 100 iso. A good tripod/head is a must.  You should shield the set up with your body if its windy too. a 10 mph wind will shake your camera noticeably in 4 minutes.   I don't use a cable release because I start the exposure with the lens cap covering the lens (but not touching the camera) and just move the lens cap out of the way. When the time is up, I cover the lens with the cap again, then close the shutter.  I use the T setting not B. B setting would require a cable release. 

Another tip.  If you don't want the cars' lights streaking by your composition, you don't have to wait till 4am when nobody is on the road for a 4 minute stretch.  When you see the car approaching, before the light enters the composition, cover the lens with the lens cap. But try not to touch the camera. Then once the car is out of the composition, take cap away again.  Be careful of the shine of the plastic of the lens cap. Don't let it reflect the light into your lens. Angling it down usually helps. You have to remember to add back the time you've covered up at the end.  I've done 4 minute exposures that lasted 15 minutes because of all the cars passing by. 

Night shooting is a different animal all together.  It forces you to really get to know the lights.  After a few sessions, you would be about to take a look at a sodium vapor street light and say, "that's 2 minutes on F8" 

Fallen Trees

I was looking back at some images that I've done in the past, both in large format and smaller formats and I did notice that I enjoy photographing dead trees.  Maybe its the fact that they're horizontal while the alive ones are vertical?  Or they're symbols of cyclic nature of life? Anyway, I see quiet beauty in the decaying trunks and branches.

Fuji x-100

I used my Fuji x-100.  It's a great camera that is small with great optics and sensor.  I opted for this because I'm getting old and carrying around a large format 4x5 camera does not look too appetizing anymore.  But If I get enough motivation to pursue this project further, I may have to do it. 

Fuji x-100

I have sympathy for these trees that get hung up as they're falling. They can't rest laying down.  Here is another one. 

Fuji x-100

Fuji x-100

Fuji x-100

Did some coloring in Light Room. I could've went to cooler tones to get the mood of 'death' but instead I went warm with more saturation.  In my head, I see these pictures not as 'sad' but rather 'beautiful'.  This idea of beauty has plagued and blessed the art world of its definition, and we will never be able to pinpoint what exactly that is.  I'm okay with that. 

Fuji x-100

Author Series: Tony Horwitz and Geraldine Brooks

I've been shooting the "Author Series" for the Hay Adams Hotel in DC Since spring of 2011.  They invite well known authors like Toni Morrison and David McCullough to a lunch at the hotel where they would have a book signing and a presentation about their book they've released.  It is usually followed by a Q&A session where attendees can ask questions directly to the authors.

Canon 50mm 1.2L, Canon 5D MKII.

The meals are specifically prepared by Chef Peter Schaffrath with full intention of incorporating the elements of the theme of the day which would be the theme of the book. For instance, for this series the book "Caleb's Crossing"was set in the 1600's in Martha's Vinards. So the chef did some research to come up with a modern version of something that would've been prepared around that geographical location and during that time period.  Pretty cool.

The Hay Adams Hotel take pride in their literary heritage. This hotel is built on the foundation of the mansion where John Hay and Henry Adams resided around the turn of the century.  The house was well known by intellectuals of the time like Mark Twain and artists alike to be a gathering place for a lively disscussion that included books and authors.

Canon 24mm 3.5L TSE, Canon 5D MKII

Kay Enokido, the President of the Hay Adams, is the mastermind behind the Author's Series.  She has also established the hotel as one of the "Best Hotels In The World" for many years.  Its no wonder that a slew of celebrities like Brad Pitt have stayed there.  I almost hit Senator Kerry by mistake with my tripod coming out of the elevator one day.  

Canon 135mm 2.0L, Canon 5D MKII

Husband and wife authors, Geraldine Brooks and Tony Horwits was being interviewed by Washington Post's Ron Charles after the lunch. Their books "Caleb's Crossing" and "Midnight Rising" was the topic.

The room is wonderfully lit with natural light coming in from the wall of windows that faces out to the White House. The 135 2.0L was perfect. The lens is so sharp in focus and out of focus areas are like butter.   With the full frame sensor of the 5D MKII, It worked like a dream.

Canon 35mm 1.4L, Canon 5D MKII

I'm always looking for a split moment that makes for an interesting picture. Her gesture and expression only lasted a fraction of a second but that short window allowed an interesting photo.  

Canon 135mm 2.0L, Canon 5D MKII.
Tony Horwitz having a laugh before the lunch with Ron Charles. 

I guess the 'straiten up and look at the camera' photos are necessary in life, much like root canals. And Just like a root canals, I will only do it if its absolutely necessary.  It looks to me when people line up for those photos, it resembles preparing one selves from a firing squad. I come only in peace.

I always believe in letting people do what they do. That way we get to see how they are as a person.  After all, isn't that what makes us... US? 

Canon 50mm 1.2L, Canon 5D MKII.

Geraldine Brooks during the book signing.

I always like shooting through people and using them to compose within the composition.  I always think its more interesting when there are "layers" in the photograph.  This kind of over-the-shoulder shots gives the impression that you are peeking through the crowd.  One of my goal when I shoot an assignment like this is to give it some feeling of experiencing the event as opposed to just showing the event. 

Canon 135mm 2.0L, Canon 5D MKII

Canon 135mm 2.0L, Canon 5D MKII

Canon 135mm 2.0L, Canon 5D MKII

Canon 35mm 1.4L, Canon 5D MKII

I thought both authors were very likable and genuine people.  I appreciated the way that he didn't seem to have too much fluff about him.  He has his no-nonsense shirt sleeves rolled up ready to work, and as he was signing the books he seemed truly happy doing it.  They both are Pulitzer Prize winning writers and the humbleness that they both have was very welcoming and admirable. 

Shooting Film More

Now and then I like to take my film cameras out for a spin.  These mechanical cameras have to be 'exercised' or they can crap out on you.  Its like that with Stradivarius violins. You have to play them or they feel that they have no purpose and crap out.  I'm serious.

When I had a mediocre scanner awhile back, I wasn't too happy with the image quality so I shot very little film.  But couple of years ago, I got the Epson V750 with the wet mount tray, and boy am I happy with the results.

But I don't use the messy wet stuff. I just use a high-grade plate of glass to sandwich the film so it remains completely flat. I've done some tests and anything bigger than 35mm you'll have problems with getting unsharp scans due to film curvature. Even with the dedicated film holder, the film does not completely flatten.  Sure, you get more contrast and dynamic range if you do the true wet mount, but wetting and drying negatives each time you scan doesn't jive with me too much. Call me lazy.

Hasselblad 500 CM, 80 2.8 CF.  Kodak Portra 400

After a commercial assignment in DC, I just walked around the area with the Hassy and grabbed some shots.  I've missed the loud 'cluck' of the mirror and the real effort of cranking the advance lever after each shot.  The reflections from the building windows were bouncing all over the place here. I was waiting forever for somebody to peek out of the door but it didn't happen.

Hasselblad 500 CM, 80 2.8 CF.  Kodak Portra 400

I was liking how the light was reflecting off the metal bars of the building. I tinted a bit in LightRoom.  One of the things that I really like about the Hassy is the square format.  Since both height and width are same it allows you to really play with the tilt to compose in the frame.  I'm not saying that you can't tilt on a rectangular format, I do it regularly, but the square lends itself to it a bit more. 

Hasselblad 500 CM, 80 2.8 CF.  Kodak Portra 400

I was almost surprised to see this street almost devoid of cars.  I don't know about you, but I don't like cars in my shots, unless the subject itself is the car. 

Hasselblad 500 CM, 80 2.8 CF.  Kodak Portra 400

It was a very slow Sunday.  I waited for someone to walk by for good 10 minutes till this person walked in the frame.  I wanted to play with the diagonal lines on the sidewalk with the vertical lines of the building. 

Hasselblad 500 CM, 80 2.8 CF.  Kodak Portra 400

A nice day to just stroll around with your trusty old companion. My other film cameras are now jealous. 

Arena Stage Architectural

Shot the Arena Stage few days ago.  I have the deepest respect for both architecture and architects.  In some sense, I think photography and architecture are somewhat similar to each each other in the fact that we both have to be very familiar with technical knowledge along with artistic.

I've met the Media Director Kirstin Franko of the Arena Stage, a while back while scouting for a photo shoot for the Design Army.  She was very helpful then and very helpful now when I wanted to shoot the theater for my portfolio.

Canon 5d MK II, 24 3.5L TSE II

This building has huge wooden pillars that sits up along the perimeter of the windows.  I find it interesting that in this building, you can't find too many right angles. The structure is mostly made out of concrete and glass but the addition of wooden posts and the lack of 90 degree angles give it more organic feel to such modern structure. 

Canon 5d MKII, 24 3.5L TSE II

Because of the wall of windows, the light plays a very important role in how the people interact with the space. 

Canon 5D MK II, 24 3.5L TSE II

Fuji X-100

Canon 5D MK II, 24 3.5L TSE II

Canon 5D MK II, 24 3.5L TSE II

Canon 5D MK II, 24 3.5L TSE II

Canon 5D MK II, 24 3.5L TSE II

Fuji x-100

This shoot was very different from how I usually work, which is hand held with open apertures.  When the subject IS the architecture, then having elements that distorts how the structure looks can be distracting.  So this is where the tilt shift lens comes in.  I love the new 24mm 3.5L TSE II. Very sharp at all apertures, easy to work with and built rugged. With this lens, its like a pocket sized view camera.  

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